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    hipstercrite says

    My true Hollywood story: The life and near-death of a Tinseltown personalassistant

    Lauren Modery
    Dec 18, 2011 | 10:37 am

    I used to work in Hollywood — as a personal assistant. Sometimes it seems like a dream, my time there. A forgotten dream only triggered by a minor chord or someone else's love letter to Los Angeles. By songs or films that I relate to but that are not my story. Sometimes I drift off in a cloud of romanticized musings of things I did not experience.

    It's much easier to recall your time in Hollywood like one would a movie, giving your story a narrative when in reality, while you were experiencing it, there was no voice guiding the way.

    I meet a lot of young people in Austin who want to move to or are about to move to LA. My initial reaction is to dispense un-requested warning, to give them a knowing nod that says, "Been there, done that. Good luck, child."

    As I stand there pinching that thought at the bottom of my esophagus, a second feeling floods in —a feeling triggered by the reminder that, at one point, I wanted to move to LA, and I did move to LA. I believe that every person who has an interest or desire to move to Los Angeles (or anywhere for that matter) should do it while they still can. It could end up being a good choice or a bad choice, but either way — it was the right choice at the time.

    I believe that every person who has an interest or desire to move to Los Angeles (or anywhere for that matter) should do it while they still can. It could end up being a good choice or a bad choice, but either way — it was the right choice at the time.

    The truth is, whatever time you spend in LA is completely invaluable. No amount of how-to books or film school can teach you what LA teaches you. Whether or not you "make it" there, you will walk away with a surplus of knowledge. Because of this, I do not regret one second of my years in Los Angeles.

    I moved to LA at 20 after being offered a job to work at a celebrity's small production company. (A celebrity that this film lover, since childhood, was a huge fan of.) I remember the moment I was offered the job perfectly: I was interning at the celebrity's company while on a semester in Los Angeles. Towards the end, they asked me if I wanted to work there. I looked at them like they were nuts.

    "You know I have no experience in Hollywood, right?" You'll learn, they assured me.

    "You know I'm 20 years old, right?" You'll do fine, they said.

    But I still had college to finish, a boyfriend, friends and family at home! I knew this was a once-in-a-lifetime opportunity and that the life I knew was about to change forever. I told them I would give them an answer the next day as I mentally prepared myself for how to tell my parents.

    As I drove down La Cienega Boulevard convincing my mother that leaving college and moving to LA was the best choice for me, The Beatles' "I Want You (She's So Heavy)" came on over the radio. I neither care for The Beatles nor remember what song is playing in most pivotal moments in my life, but that moment and those lyrics I will never forget.

    Tying up loose ends

    I immediately flew home to tie up loose ends. It was an awkward three weeks of the unraveling of my relationship with my boyfriend of four years, explaining to my college what I was doing and trying to spend as much time with my friends and family before I moved to California for good. While my mother and I were shopping for clothing at the mall, the actor I was to work for called me to welcome me aboard.

    I remember running into a dressing room, locking myself in and not hearing a word of what the actor was saying. The whole time I was thinking, "Why is he talking to me? How did I get here? This is not my beautiful house!" I moved to LA soon after and promptly spent my 21st birthday alone in a city I knew nothing about.

    LA was tough, I'll admit. I didn't know anyone, and I was working long hours. I worked for team of very serious players, and I did my best to keep up with them. My small-town upbringing didn't equip me with the tools for maneuvering on such a playground, so I spent most days in a perpetual state of confusion, frustration and loneliness.

    I tried with all my might to stuff those emotions away, while an angry version of me quickly formed a layer over my previous self. The first time my mother came to visit me, she left in tears. "I don't know who you are anymore," she said. Her words bounced off my newly formed hide. I was going to make it in Hollywood — as what, I didn't know — but dammit, I was going to make it.

    I went to film festivals throughout the country, film premieres, private parties, ate dinner with celebrities and got to experience moments I never could have imagined for my small-town self. This kid from the middle of nowhere was in the middle of it all — and ignoring the fact that she was slipping away.

    I was reminded of why, since I was a little girl, I wanted to work in film. It had nothing to do with Bluetooth headsets and power meetings and being strapped for time and stressed. It had everything to do with creating, something I hadn't done once in the five years I in Los Angeles.

    At 22, I glamorized my therapy sessions with grand notions of owning a glass house in the Hollywood Hills. "A glass house," I told my therapist, "where I can look down upon the city and where I touch no one and no one touches me."

    Maybe my therapist thought I stole that line from Crash, but the cliché is true. All of it was true. A culture of detachment. My therapist didn't know that at night I drank until I fell asleep. It didn't take much for the wave of calm to carry me away from the denial; I was utterly and completely unhappy.

    So I lived this way for five years until one day, while in production in Chicago, I woke up and realized I was done. That the fast-paced, time-is-money mentality was not for me. At the end of each night, I sat staring out of my apartment window drawing the Chicago skyline. In doing so, I was reminded of why, since I was a little girl, I wanted to work in film. It had nothing to do with Bluetooth headsets and power meetings and being strapped for time and stressed out. It had everything to do with creating, something I hadn't done once in the five years I lived in Los Angeles.

    I told my boss that I was leaving and, after months of getting myself to commit to that idea, I drove away from Los Angeles for good.

    And now I work in a completely different film industry, the one that exists in Austin — light years from the cacophony of Los Angeles. Here people are happy. Here, I've been able to meet and work with incredible folks. Here, I've been able to stretch my wings and no longer be confined in the role of someone's caretaker. I've been able to evolve into the artist and person I wanted to be. Looking back, I don't even think I was a particularly outstanding personal assistant, because deep down I knew I didn't want to help others to create, I wanted to create myself.

    A friend recently told me that Los Angeles is not the sort of place you move to to find yourself, it's a place to move to after you've already found yourself. He couldn't have worded it more perfectly. Now that I have found myself, I feel that I would be able to tackle Los Angeles the way I wanted to tackle it when I first moved there as a bushy-tailed kid. But why would I want to?

    unspecified
    news/entertainment

    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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